Mizoguchi Kenji, (born May 16, 1898, Tokyo, Japan—died Aug. 24, 1956, Kyōto) Japanese motion-picture director whose pictorially beautiful films dealt with the nature of reality, the conflict between modern and traditional values, and the redeeming quality of a woman’s love.

In 1919, after he had studied painting and had spent a short time designing advertisements for the Kōbe Soshin Daily News in the city of Kōbe, Mizoguchi returned to Tokyo and became an actor at the Nikkatsu Motion Picture Company, in which, within three years, he was a director.

His Gaitō no suketchi (1925; Street Sketches) and Kami-ningyo haru no sasayaki (1926; A Paper Doll’s Whisper of Spring) presaged the rise of Japanese realism in the 1930s. Mizoguchi’s outstanding films of the 1920s and ’30s included Tōkyō koshinkyoku (1929; Tokyo March) and Tokai kōkyògaku (1929; Metropolitan Symphony), which considered contemporary social problems, and Gion no shimai (1936; Sisters of the Gion) and Naniwa ereji (1936; Osaka Elegy), films dealing with the rejection of traditional values by modern Japanese society.

Zangiku monogatari (1939; The Story of the Last Chrysanthemums) initiated a long series of period dramas set in the Meiji period (1868–1912). The dramas filmed during World War II avoided controversial issues, but the ones made after the war became increasingly concerned with the problems of modern life. Ugetsu monogatari (1953), considered one of the finest of all Japanese films, is an outstanding example of Mizoguchi’s period drama. Notable as a study of the nature of reality and for its sense of place created by carefully controlled camera movement, Ugetsu is an allegorical commentary on postwar Japan. Among Mizoguchi’s postwar films are some of his most important dramas about women—e.g., JoyūSumako-no-koi (1947; The Love of Actress Sumako), the biography of one of Japan’s first emancipated women; Yoru no onnatachi (1948; Women of the Night); and Akasen chitai (1956; Street of Shame).

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Two other established directors who produced their greatest films in the postwar period were Mizoguchi Kenji and Ozu Yasujirō. Both had begun their careers in the silent era and were more traditionally Japanese in style and content than Kurosawa. Mizoguchi’s films, whether period (Sansho dayu [Sansho the Bailiff], 1954) or contemporary...

...in a scene via cuts (montage) or camera movement. Eisenstein has already been cited as a master of montage. One of the directors most acclaimed for the expressive use of camera movement is Japan’s Mizoguchi Kenji. Although Mizoguchi was not beyond making strongly rhetorical points by juxtaposing shots, the overall impression his films convey derives from the use of a seemingly floating camera...